“L2AYS in progress”,
an ongoing research project
about the notion of paces on interactive digital poetry
at Vacancy Atlas,
107 Cornwall Street
from Monday 29th May
to Friday 2nd June
10am to 4pm.

Come by and have a chat!

L2AYS (Letter To A Younger Self) explore the notions of spaces – physical, digital, cognitive, narrative, affective and enactive – within the interactive digital poetry experience. Its design is based on the notion of proto-letter, discussed by the neuropsychologist Stanislas Dehaene in his book Reading in the Brain (2009), and Raymond Roussel’s writing ‘procédé’ that place homophony as a narrative principle. The installation allows the audience to play with key moments of an imaginary life time of theirs (past, present and future) by exploring the digital time line.

Best wishes

An auto-fiction between two distant persons. 64 cards, as many as a chess board has. The reader progresses like a knight or like they want. There are three level of narrative, several voices are entangled, some are more difficult to hear, reflecting dynamics of the supposed relationship from different points in time. There is no end, because there was never a beginning.

croquis proto-lettre
[Recherche doctorale]

NOTE: Due to the memory requirements of this film playing in a browser viewing on a desktop browser is recommended. Please be patient for the film to load.

In Josh Begley’s film, Best of Luck with the Wall (2016), a comment on the proposed border wall between the US and Mexico by American President Donald Trump, Begley states:

What would it mean to try to ‘see’ the entire south-west border at once? To travel the whole 1,954 miles in, say, six minutes?…
According to Google Maps, it would take 34 hours to drive its entire length.

We wondered, why six minutes? Why should this heavily politicised place, much of which is inhabited and sees a million people officially cross the border every day, be temporally reduced and become the visual equivalent of what Begley terms is “a place abstracted into a sound bite”?

Employing the same tools and processes as the original, this film addresses the issue by providing a slowed-down 34-hour variant. The result is a video that traverses the landscape simulating the experience of travelling the length of the wall as if travelling at the speed of a car. The scale of the proposed construction is emphasised and each place that it will pass through can be seen and identified. The video is accompanied by the original soundtrack torturously stretched to the point of being noise and as a result uncomfortable to listen at length, reminding the viewer of the film’s disturbing subject matter.

In collaboration with Garrett Lynch.


I would have preferred blue.
“Artfact: Green. I heard the strand screaming”



La mort de l’hauteur ou la rotations des égalités.


Un silex s’en va.


Je tented d’écrire un petition Peugeot en François, new Lutton plus centre le corrected automotive d’orthographe. #computanionalPoetry
Je m’habitue à centre mode de lender, de larges conflictuelles etc de grist illegal. Risen new vast plus grand grand chose.
Sure la gauche, la fret de Dartmouth, Droitwich deviant la route serpentant; au loin, un village humid.
Less maison colorless égayent doyenne meant le terrible passage.
Side seule mentioned le solely daignait point rear! Le very redeviendrait very
Maisemore non stop. À vice allure le vehicle servicing dirge vers la valley d’eau céant. ( out sin on l’ombre game)
I’ll pleat. Silence éloquent design gout test touted centre la fenugreek. Decided, je new gardenia qu’une trace tranquil#computationalpoetry

On my way to Plymouth, I tried to domesticate my English native speaker phone. Its system transformed my intentions into something new. Since then, I have lost the precise memory of what I was saying in French. Am I still interested in untreated data? Is it even possible to undo the process, to decipher back the code? Is it even tempting?


Test Processing.